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Tag Archives: indigenous artists

Confined 10

I’m standing in line, about to buy a painting when the woman just in front of me buys the very one that I wanted. She must have excellent taste but I am so disappointed. I look at the exhibition catalogue again, before heading to the bar for a consolation drink. The same woman is just in front of me in the queue for the bar, fortunately she didn’t drink the bar dry.

Thursday, January 31 is opening of the Confined 10 in the Carlisle Street Arts Space at the St Kilda Town Hall. Confined 10 is the annual exhibition by The Torch, an organisation that supports Indigenous artists currently in or recently released from prisons in Victoria. The gallery is packed to capacity, there is a security guard only letting a hundred people in at a time, and there are hundreds more people in the foyer and the ballroom.

The walls of the gallery are full of paintings, hundreds of paintings; amidst all these you would think that I’d be able to find another painting that I liked. However, there are now there are more dots on the walls, not more dot paintings but red dots to indicate that a painting has been sold. The paintings that are just designs, without any images of animals are selling very well.

“It’s what the painting represents more than the painting.” I overhear the familiar voice of for Premier Jeff Kennett. He is talking to someone else just behind me in the crowd but I’m not surprised to see him. Jeff Kennett has been the Chairman of the Torch since 2016 and ensured that the law was changed so the Indigenous prisoners could sell their art. I don’t know what Kennett means; is he referring to the humanitarian value of helping people in need, or that Indigenous culture is more than just a painting. But I am still feeling the loss of the painting that I wanted to buy, its colours, its designs, Kelvin Rogers bold signature with date.

I shouldn’t have taken so much time looking at whole exhibition, photographing the couple of quirky works, like the wooden model motorcycle by Shane J, and gone straight for the buying. But the art critic in me wanted to look at variety of art on exhibit. For the last two years Shane J has been exhibiting some impressive constructions made from matchsticks and ‘paddle pop’ sticks.

Anyway, enough of the regrets, the speeches are starting in the ballroom. Kent Morris, the CEO of the Torch told the story of how an exhibition, a decade ago featuring 18 artists and 25 art works, grew to its current size with 217 artists and 230 art works. Followed by more speeches from Auntie Caroline, the Mayor of St. Kilda Dick Ross,  and Uncle Jim Berg, Gunditjmara Elder. The award winners were announced: Ash Thomas, Kim Kennedy, Chris Austin, Paul Leroy McLaughlin, Lodi Lovett, Veronica Hudson, and Graham ‘Gil’ Gilbert. 

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The Intervention @ Counihan

Jason Wing’s “Intervention: Criminal” speaks powerfully. It is a giant paste-up photocopy of a photo of himself with the words “An Australian Government Initiative: Criminal” on a sign hung around his neck. The image has all the sympathy of a mugshot. In 2007 by act of federal legislation the Northern Territory Emergency Response (NTER) legislation better known as “the intervention” removed the rights of the Aboriginal population in the NT. The Australian government gains political power by marginalizing and criminalizing minority groups.

Jason Wing’s image is the centre-piece image of the exhibition “Ghost Citizens: witnessing the intervention” at the Counihan Gallery and features on the exhibition flyer. (In 2009 I wrote about Jason Wing’s first solo exhibition of  in this blog.)

My favorite images from the exhibition are Chips Mackinolty’s digital prints “National Emergency Next 1,347,525km” “…and there will be no dancing”; signpost the incredibly vast territory that as an emergency is absurd. I had seen Bindi Cole’s work at the NGV’s Studio space last year but her series of photos are well worth another look to see the absurdity of the idea of the standard image of aboriginal Australia.

The paintings of Dan Jones, Kylie Kemarre, Sally M. Mulda and Amy Napurulla provide a colorful accompaniment to the other works and the bleak subject of the exhibition. Fiona MacDonald’s woven archival print of the landscape of James Cook Island at Sylvania Waters in NSW provides the contrast and made me question who is need of an intervention. There is so much balance in this exhibition between the works of 8 Aboriginal and 5 non-Indigenous artists.

The excellent curatorial skills of Jo Holder and Djon Mundine OAM make this exhibition a powerful experience. The Counihan Gallery has done another great job at bringing together art and politics in this exhibition, a feature of their program this year.

The subject of the exhibition is extraordinarily important to Australia’s culture and its claim to be a civilized nation. Considering the up-coming federal election everyone should make an effort least see this exhibition and try to understand what is happening with the “Basic Card”, the suspension of the Racial Discrimination Act in the NT and the “intervention”.


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